use the Decorative Sliding Door Stopper to protect your family from break-ins. This patio sliding door security bar is discreet, attractive and effective. The Decorative Sliding Door Stopper is easy to use -- simply adjust to fit snugly in the track of your sliding door. Decorative Sliding Door Stopper secures your sliding door effectively, beautifully, and is only $12.99! Of course a block of wood works perfectly well as a patio sliding door security bar. But it doesn't look very appealing in your home. Crafted of durable carbon steel, this Decorative Sliding Door Stopper's black metal scrollwork will add a stylish touch to any door. Once in place, the Decorative Sliding Door Stopper will prevent anyone from forcing open the door from the outside. This patio sliding door security bar extends from 30" to 32" long to fit most standard sliding doors. Benefits of the Decorative Sliding Door Stopper: Use the Decorative Sliding Door Stopper to protect your family from break-ins

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Birmingham Coat Of Arms And Supporters Statue

This early unofficial design for the Birmingham Coat of Arms and Supporters quite closely resembles the later official version. Art, on the left in classical robes, leans her arm on a pitcher of classical shape and proportion, with a bust of a bearded man at her feet. Industry, on the other hand, in contemporary working clothes with sleeves rolled up, leans a hammer on an anvil and holds a pair of dividers in his lap. However, in some significant details they depart from the fundamental tenets of traditional heraldry. By reversing the usually standing left hand position of the male and the right hand position of the female figure, by representing them seated with their heads looking down to the street and by placing a helmet with a flowing tasselled veil and a regal crown over the shield of the Coat of Arms, Lynn adapted his sculpture to its iconographical, functional, architectural and environmental context. Her attributes, the classical dress, antique pitcher and the sculpted bust, but without her customary brushes and palette, seems to suggest the contemporary Arts and Crafts idea that the origin of Art is in ancient craftsmanship. Such a shift in emphasis towards crafts in this personification of Art through the city’s emblem, together with the modern workman appearance of Industry, must have been relevant to the Bank’s clientele in Birmingham. By representing Art and Industry seated, Lynn not only changed their emblematic role as standing supporters, but also transformed them into a three-dimensional monumental free-standing sculptural group. In contrast to the figures, the imposing splendour of the Coat of Arms with the unorthodox use of a helmet with a flowing, tasselled veil and a regal crown, shows the extent to which the new industrial middle class society continued to use the decorative vocabulary of the fundamentally aristocratic Baroque. The position of the crown over the shield was to signify the power of the nation upheld by Birmingham’s industrial and manufacturing success which grew rapidly in the 19th century.

When the original building by C.R. Cockerell of 1833 was rebuilt in 1869 by John Gibson, the National Provincial Bank (changed to the National Westminster Bank, nnow under new ownership) commissioned S. F. Lynn to produce the monumental free-standing Coat of Arms, together with the four finely carved reliefs in the porch representing the industry and crafts associated with the city. Although the shield of the coat of arms was only adopted by the Corporation in 1867, to replace others which had been used at random ever since Birmingham was incorporated as a Borough in 1838, the honour of the supporters was only officially granted in 1889 when the title of City was conferred on Birmingham.

High on the roof, above the main entrance, the shield of the Coat of Arms flanked by supporters personifying Art and Industry is a characteristic expression of civic pride in Birmingham’s industrial and commercial achievement. Banks not only had an all important financial overview and contribution to this development, but indirectly, they also had an ideological role, spreading and implanting the notion of permanent and powerful economic progress. In the midst of the series of 19th century banking crises which caused the demise of so many country banks, architecture and sculpture were often used to convey an image of security by municipal and imperial authority. The fact that the coat of arms over the Bank was made twenty years before either the shield or the supporters were authorised, shows the Bank’s concern to associate itself equally with the nation and the city.

Old Bank on Bennetts Hill now a trendy wine bar

Typical Costa Rican house

Having been under the impression that Costa Rica was a relatively safe society, and one not plagued by desperate poverty like many developing nations, I was frankly shocked at the prevailing level of security. Practically every house -- even the most modest, ones that would qualify as downright poor by US standards -- was protected by serious-looking iron bars. Occasionally it would just be window bars, but the sort of arrangement seen here, with the entire property fenced off and the car parked inside the fence, was pretty typical. Sometimes the fence would reach up to an extended patio roof attached to the house to create a sealed space; sometimes it would be freestanding, in which case it might have razor wire along the top. Simple vertical bars were the more common, but some houses, like this one, had decorative ironwork patterns.

That said, we never felt afraid for our persons. Theft of unguarded property is the only real concern.

decorative security bars

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